Category Archives: Re-visioning Artistry
WITHOUT BORDERS | Screw Ingmar Bergman’s films. Go see his screen texts on stage, Sept. 3 to 5
What’s the point of seeking to certify a heartbreaking work of stagecraft by comparing it to Bergman’s cinema aesthetics?
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WITHOUT BORDERS | Screw Ingmar Bergman’s films. Go see his screen texts on stage, Sept. 3 to 5
What’s the point of seeking to certify a heartbreaking work of stagecraft by comparing it to Bergman’s cinema aesthetics?
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METROPOLITAN MUSEUM | Seen live in New York, Van Gogh’s two “Irises” will knock you out
It provides a singular opportunity to reconsider Van Gogh’s artistic aims and the impact of color fading on his intended results.
METROPOLITAN MUSEUM | Seen live in New York, Van Gogh’s two “Irises” will knock you out
It provides a singular opportunity to reconsider Van Gogh’s artistic aims and the impact of color fading on his intended results.
THEATER COMMENTARY | Viewing Jane Bowles and her “In the Summer House” through the prism of Tennessee Williams
You’ve likely not heard of Jane Bowles, but she wrote a cock-eyed, mesmerizing play that was one of the signal achievements of postwar American drama. It’s right up there with the classic works of Arthur Miller, Tennessee Williams, Gertrude Stein, late Eugene O’Neill, Lillian Hellman, and Sam Shepard. This post is about Jane Bowles’s unjustly neglected play: “In the Summer House.”
THEATER COMMENTARY | Viewing Jane Bowles and her “In the Summer House” through the prism of Tennessee Williams
You’ve likely not heard of Jane Bowles, but she wrote a cock-eyed, mesmerizing play that was one of the signal achievements of postwar American drama. It’s right up there with the classic works of Arthur Miller, Tennessee Williams, Gertrude Stein, late Eugene O’Neill, Lillian Hellman, and Sam Shepard. This post is about Jane Bowles’s unjustly neglected play: “In the Summer House.”
RECOMMENDATION | See film screening of American version of German “Trust” at Goethe Institut-Washington
WASHINGTON, D.C. | Tonight, July 8, a young D.C. troupe will screen a film that documents that making of its new dance/theatre project Trust by the German writer/director Falk Richter. The courageous company force/collision has been in search of a dance vocabulary
RECOMMENDATION | See film screening of American version of German “Trust” at Goethe Institut-Washington
WASHINGTON, D.C. | Tonight, July 8, a young D.C. troupe will screen a film that documents that making of its new dance/theatre project Trust by the German writer/director Falk Richter. The courageous company force/collision has been in search of a dance vocabulary
ON FOREIGN-FILM DIPLOMACY | Why this year’s Golden Globe Awards are so Eurocentric
Have you noticed that the French and the Scandinavians dominate this year’s Golden Globe nominees for best foreign language films? To a disproportionate degree. So what exactly happened that only the French and the Scandinavians grabbed most of the Golden Globes booty? Are the best of the best among this year’s foreign language films really so Eurocentric?
ON FOREIGN-FILM DIPLOMACY | Why this year’s Golden Globe Awards are so Eurocentric
Have you noticed that the French and the Scandinavians dominate this year’s Golden Globe nominees for best foreign language films? To a disproportionate degree. So what exactly happened that only the French and the Scandinavians grabbed most of the Golden Globes booty? Are the best of the best among this year’s foreign language films really so Eurocentric?
Performance review | Diverse City Theater’s nervy revival of Lee Blessing’s “Two Rooms” gives voice to voiceless
Diverse City Theater’s nervy production argues that Two Rooms has not lost an inch of topical relevance. The play has not lost its eloquence. It is a muted cry of rage.
Performance review | Diverse City Theater’s nervy revival of Lee Blessing’s “Two Rooms” gives voice to voiceless
Diverse City Theater’s nervy production argues that Two Rooms has not lost an inch of topical relevance. The play has not lost its eloquence. It is a muted cry of rage.
Performance review | Is “Pâquerette” penetrating, or merely a dance with penetrating elements?
Pâquerette is a duet between a man and a woman who re-discover their childlike innocence through the intensities of penetration.
Performance review | Is “Pâquerette” penetrating, or merely a dance with penetrating elements?
Pâquerette is a duet between a man and a woman who re-discover their childlike innocence through the intensities of penetration.
Not a performance review | French choreographer David Wampach spoofs John Waters film, dances with shaving foam
“Auto + Batterie” matches up two enticing signature works, in which French choreographer David Wampach conspicuously foregrounds the theatrical relationship between dance and music.
Not a performance review | French choreographer David Wampach spoofs John Waters film, dances with shaving foam
“Auto + Batterie” matches up two enticing signature works, in which French choreographer David Wampach conspicuously foregrounds the theatrical relationship between dance and music.
Performance review (NSFW) | Italy’s Ricci/Forte serves up queer fantasia in “Macadamia Nut Brittle”
Macadamia Nut Brittle is excoriating, sexy, hallucinatory, viciously funny. The plot steals from the mode of a reality-TV show, but its stance is subversive and punk. As the noisy evening unfolds, Ricci/Forte detonates, again and again and again, the illusory logic of this TV genre
Performance review (NSFW) | Italy’s Ricci/Forte serves up queer fantasia in “Macadamia Nut Brittle”
Macadamia Nut Brittle is excoriating, sexy, hallucinatory, viciously funny. The plot steals from the mode of a reality-TV show, but its stance is subversive and punk. As the noisy evening unfolds, Ricci/Forte detonates, again and again and again, the illusory logic of this TV genre
Performance review | Seeing the Romanian Cultural Institute’s “Window” through Alice’s looking glass
The Window is a unique theatrical experience, because enigma is a principal aspect of its charms. An inspiring two-part site-specific performance-design project created and directed by Ana Mărgineanu for the Romanian Cultural Institute in New York (RCINY), The Window asks you to pay close attention if you happen to stroll by RCINY’s storefront spaces.
Performance review | Seeing the Romanian Cultural Institute’s “Window” through Alice’s looking glass
The Window is a unique theatrical experience, because enigma is a principal aspect of its charms. An inspiring two-part site-specific performance-design project created and directed by Ana Mărgineanu for the Romanian Cultural Institute in New York (RCINY), The Window asks you to pay close attention if you happen to stroll by RCINY’s storefront spaces.
Performance review: Watch a storefront story from a New York sidewalk in this Romanian-American collaboration
“The Window” succeeds in its creative transformation of an otherwise nondescript building space that is normally used as a bookstore, a reception area or a meeting place. If you did know that there is a Romanian consulate and cultural services in that corner of the neighborhood, you definitely will remember that piece of information the next time you pass by.
Performance review: Watch a storefront story from a New York sidewalk in this Romanian-American collaboration
“The Window” succeeds in its creative transformation of an otherwise nondescript building space that is normally used as a bookstore, a reception area or a meeting place. If you did know that there is a Romanian consulate and cultural services in that corner of the neighborhood, you definitely will remember that piece of information the next time you pass by.
Transvestite cabaret blossoms in “Gardenia,” a dance-theater work from Belgium
MONCLAIR, N.J.: Think of it as a Follies for the third gender. Or La Cage aux Folles as re-dressed by Pina Bausch. A dance-theater piece from Belgium, Gardenia conjures the closing night of a transvestite cabaret in Barcelonia where seven middle-aged men (between
Transvestite cabaret blossoms in “Gardenia,” a dance-theater work from Belgium
MONCLAIR, N.J.: Think of it as a Follies for the third gender. Or La Cage aux Folles as re-dressed by Pina Bausch. A dance-theater piece from Belgium, Gardenia conjures the closing night of a transvestite cabaret in Barcelonia where seven middle-aged men (between
Review: Strange forms and cautionary parable flicker in Nic Ularu’s “Hieronymus Bosch”
“Hieronymus” pulses in that liminal space in between dramatic representation and visual abstraction. It’s a picture book of a play. It’s a meditation of the plight of the artist today and a hybrid re-composition that celebrates that artist’s singular voice.
Review: Strange forms and cautionary parable flicker in Nic Ularu’s “Hieronymus Bosch”
“Hieronymus” pulses in that liminal space in between dramatic representation and visual abstraction. It’s a picture book of a play. It’s a meditation of the plight of the artist today and a hybrid re-composition that celebrates that artist’s singular voice.
My picks for the world’s best theater of 2011
My picks for the world’s top-10 best theater reflects my travels in 2011 and is therefore deeply personal.
My picks for the world’s best theater of 2011
My picks for the world’s top-10 best theater reflects my travels in 2011 and is therefore deeply personal.
